It’s both fascinating and depressing how many minor indie films can slip through the cracks of theatrical distribution after first appearing for a festival run. The digitization of the film industry has democratized production to the point where almost anyone can make a movie, but opening the floodgates that way has meant that it’s much more difficult for a feature to stand out & be seen. The Gothic mystery thriller Dig Two Graves, for instance, premiered at the New Orleans Film Fest in 2014, but didn’t earn a “select theaters” release until nearly just three years later. The modestly budgeted film is now lurking, just a few months later, in the massive heap of under-publicized indies that eventually all find their way to Netflix. In some ways it’s easier to watch than ever before, but it’s also a victim of a distribution method that does it no favors in terms of visibility. It’s a shame too, because it’s actually a fairly engaging work that could be commercially viable with the right push.
There are two dueling timelines in Dig Two Graves. The film opens with 1940s cops dumping two bodies off a cliff into a backwoods river. It then jumps to two teen siblings standing at the same cliff in the 1970s. Unable to convince his sister to plunge with him, the older brother leaps to the water below on his own, never to resurface. The sister obsesses over this disappearance and is hurt that her family and community is able to move on. Her story starts to converge with the opening 1940s timeline from there, as she’s offered a proposition from old-timey gypsy vagabonds who promise to bring her brother back to life through black magic in exchange for the life of her schoolyard friend. The division between the 40s and 70s timelines loses its rigidity as she struggles with the implications of the magic that could bring her brother back. It’s a classic Southern Gothic tale of supernatural revenge that just happens to be set in the Midwest.
The pitfalls of revenge and the cycles of history repeating itself aren’t exactly novel territory for a mystery thriller to explore, but Dig Two Graves does a great job of visually distinguishing itself while remaining narratively familiar. Snakes, carnivals, magic tricks, the eeriness of the woods, and the hallmarks of hillbilly occultism all afford the film the feel of a strange bedtime story that resurfaces in your nightmares through half-remembered images. Jars of homemade moonshine and the field dressing of deer ground its supernatural story in a sense of real world brutality, while the lead vagabond’s battered top hat gives him a kind of Babadook quality. This is the exact kind of film I would have loved to have caught at a young enough age so that its specific images haunted me more than the mechanics if its central mystery; I’m thinking specifically of my relationship with The Lady in White. Still, even for an adult audience Dig Two Graves packs plenty of visually-triggered chills and can be technically impressive in its confident drifts between its two disparate temporal settings.
One of the biggest questions Dig Two Graves raises for me is just how many of these well-made indies are slipping through the distribution cracks and not even reaching Netflix. I even attended the 2014 NOFF where this film premiered (it’s where I saw Wetlands) and I’ve never heard of this film. I’ve had movies from subsequent NOFF screenings crack my Top Films of the Year lists, never to be heard of again in wide distribution. This is a strange time we’re living in for pop culture media, but I’m glad films like Dig Two Graves can at least find a way to get made even if they have to later struggle to be seen.
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